The relationship of all this to Watergate is not entirely clear.
At the heart of the story, however, is indeed “the simple unalterable fact of her color.”
All the sex in Black Fashion Model is the standard stuff of pornography: rape, bondage, humiliation, pain, fucking, ass-fucking, fingerfucking, cocksucking, cuntsucking, kidnapping, hitting, the sexual cruelty of one woman toward another, pair sex, gang sex.
All the values are the standard values of pornography: the excitement of humiliation, the joy of pain, the pleasure of abuse, the magnificence of cock, the woman who resists only to discover that she loves it and wants more.
The valuation of the woman is the standard valuation (“a wanton, lusty woman!”), except that her main sexual part is her skin, its color. Her skin with its color is her sex with its nature. She is punished in sex by sex and she is punished as a consequence of sex: she loses her status. All this punishment is deserved, owing to her sex, which is her skin. The genital shame of any woman is transferred to the black woman’s skin. The shame of sex is the shame of her skin. The stigma of sex is the stigma of her skin. The use of her sex is the use of her skin. The violence against her sex is violence against her skin. The excitement of torturing her sex is the excitement of torturing her skin. The hatred of her sex is the hatred of her skin. Her sex is stretched over her like a glove and when he touches her skin he puts on that glove. She models her skin, her sex. Her sex is as close, as available, as her skin. Her sex is as dark as her skin. The black model need not model naked to be sex; any display of her skin is sex. Her sex is right on the surface—her essence, her offense.
Bart, the black male policeman with a gun, punishes her for leaving him, leaving home, leaving by moving up and out. His race is first made clear in a description of the size of his cock. Later the text reveals that he is a black man; but the reader, having encountered the size of his cock (“His prick is too big for any natural orifice”), is presumed to know already. He is the boss. The white folks are under his orders and doing what he wants. He is on top; he is the meanest; he fucks the black woman in the ass to hurt her the worst. These are all reasons to fear him, especially to fear his sex. He avenges his masculinity and his race on her—by using his huge cock. She ends up calling him her lover and begging him to hurt her: with each other, race is neutralized—they are just male and female after all.
Kelly is a good girl (sic). Only in front of the camera is she wanton, lewd, lusty—a woman! Her sexual nature is in what the camera captures—her skin. Once actually used—revealed in sex to be what she is in skin—she loses everything. The camera captures her skin in sexual action, her skin actualized, being used for what it is. The huge cock reveals the black man. The black female’s skin reveals her: her skin is cunt; it has that sexual value in and of itself. Her face is savage beauty, savage cunt. She has no part that is not cunt. One wants her; one wants her skin. One has her; one has her skin. One rapes her; one rapes her skin. One humiliates her; one humiliates her skin. As long as her skin shows, her cunt shows. This is the specific sexual value of the black woman in pornography in the United States, a race-bound society fanatically committed to the sexual devaluing of black skin perceived as a sex organ and a sexual nature. No woman of any other race bears this specific burden in this country. In no other woman is skin sex, cunt in and of itself—her essence, her offense. This meaning of the black woman’s skin is revealed in the historical usage of her, even as it developed from the historical usage of her. This valuation of the black woman is real, especially vivid in urban areas where she is used as a street whore extravagantly and without conscience. Poverty forces her; but it is the sexual valuation of her skin that predetermines her poverty and permits the simple, righteous use of her as a whore.
How, then, does one fight racism and jerk off to it at the same time? The Left cannot have its whores and its politics too. The imperial United States cannot maintain its racist system without its black whores, its bottom, the carnal underclass. The sexualization of race within a racist system is a prime purpose and consequence of pornography. In using the black woman, pornography depicts the whore by depicting her skin; in using the pornography, men spit on her sex and her skin. Here the relationship of sex and death could not be clearer: this sexual use of the black woman is the death of freedom, the death of justice, the death of equality.
RIGHT-WING WOMEN
1983
THE PROMISE OF THE ULTRA-RIGHT
There is a rumor, circulated for centuries by scientists, artists, and philosophers both secular and religious, a piece of gossip as it were, to the effect that women are “biologically conservative.” While gossip among women is universally ridiculed as low and trivial, gossip among men, especially if it is about women, is called theory, or idea, or fact. This particular rumor became dignified as high thought because it was Whispered-Down-The-Lane in formidable academies, libraries, and meeting halls from which women, until very recently, have been formally and forcibly excluded.
The whispers, however multisyllabic and footnoted they sometimes are, reduced to a simple enough set of assertions. Women have children because women by definition have children. This “fact of life,” which is not subject to qualification, carries with it the instinctual obligation to nurture and protect those children. Therefore, women can be expected to be socially, politically, economically, and sexually conservative because the status quo, whatever it is, is safer than change, whatever the change. Noxious male philosophers from all disciplines have, for centuries, maintained that women follow a biological imperative derived directly from their reproductive capacities that translates necessarily into narrow lives, small minds, and a rather meanspirited puritanism.
This theory, or slander, is both specious and cruel in that, in fact, women are forced to bear children and have been throughout history in all economic systems, with but teeny-weeny time-outs while the men were momentarily disoriented, as, for instance, in the immediate postcoital aftermath of certain revolutions. It is entirely irrational in that, in fact, women of all ideological persuasions, with the single exception of absolute pacifists, of whom there have not been very many, have throughout history supported wars in which the very children they are biologically ordained to protect are maimed, raped, tortured, and killed. Clearly, the biological explanation of the so-called conservative nature of women obscures the realities of women’s lives, buries them in dark shadows of distortion and dismissal.
The disinterested or hostile male observer can categorize women as “conservative” in some metaphysical sense because it is true that women as a class adhere rather strictly to the traditions and values of their social context, whatever the character of that context. In societies of whatever description, however narrowly or broadly defined, women as a class are the dulled conformists, the orthodox believers, the obedient followers, the disciples of unwavering faith. To waver, whatever the creed of the men around them, is tantamount to rebellion; it is dangerous. Most women, holding on for dear life, do not dare abandon blind faith. From father’s house to husband’s house to a grave that still might not be her own, a woman acquiesces to male authority in order to gain some protection from male violence. She conforms, in order to be as safe as she can be. Sometimes it is a lethargic conformity, in which case male demands slowly close in on her, as if she were a character buried alive in an Edgar Allan Poe story. Sometimes it is a militant conformity. She will save herself by proving that she is loyal, obedient, useful, even fanatic in the service of the men around her. She is the happy hooker, the happy homemaker, the exemplary Christian, the pure academic, the perfect comrade, the terrorist par excellence. Whatever the values, she will embody them with a perfect fidelity. The males rarely keep their part of the bargain as she understands it: protection from male violence against her person. But the militant conformist has given so much of herself—her labor, heart, soul, often her body, often children—that this betrayal is akin to nailing the coffin shut; the corpse is beyond
caring.
Women know, but must not acknowledge, that resisting male control or confronting male betrayal will lead to rape, battery, destitution, ostracization or exile, confinement in a mental institution or jail, or death. As Phyllis Chesler and Emily Jane Goodman make clear in Women, Money, and Power, women struggle, in the manner of Sisyphus, to avoid the “something worse” that can and will always happen to them if they transgress the rigid boundaries of appropriate female behavior. Most women cannot afford, either materially or psychologically, to recognize that whatever burnt offerings of obedience they bring to beg protection will not appease the angry little gods around them.
It is not surprising, then, that most girls do not want to become like their mothers, those tired, preoccupied domestic sergeants beset by incomprehensible troubles. Mothers raise daughters to conform to the strictures of the conventional female life as defined by men, whatever the ideological values of the men. Mothers are the immediate enforcers of male will, the guards at the cell door, the flunkies who administer the electric shocks to punish rebellion.
Most girls, however much they resent their mothers, do become very much like them. Rebellion can rarely survive the aversion therapy that passes for being brought up female. Male violence acts directly on the girl through her father or brother or uncle or any number of male professionals or strangers, as it did and does on her mother, and she too is forced to learn to conform in order to survive. A girl may, as she enters adulthood, repudiate the particular set of males with whom her mother is allied, run with a different pack as it were, but she will replicate her mother’s patterns in acquiescing to male authority within her own chosen set. Using both force and threat, men in all camps demand that women accept abuse in silence and shame, tie themselves to hearth and home with rope made of self-blame, unspoken rage, grief, and resentment.
It is the fashion among men to despise the smallness of women’s lives. The so-called bourgeois woman with her shallow vanity, for instance, is a joke to the brave intellectuals, truck drivers, and revolutionaries who have wider horizons on which to project and indulge deeper vanities that women dare not mock and to which women dare not aspire. The fishwife is a vicious caricature of the small-mindedness and material greed of the working-class wife who harasses her humble, hardworking, ever patient husband with petty tirades of insult that no gentle rebuke can mellow. The Lady, the Aristocrat, is a polished, empty shell, good only for spitting at, because spit shows up on her clean exterior, which gives immediate gratification to the spitter, whatever his technique. The Jewish mother is a monster who wants to cut the phallus of her precious son into a million pieces and put it in the chicken soup. The black woman, also a castrator, is a grotesque matriarch whose sheer endurance desolates men. The lesbian is half monster, half moron: having no man to nag, she imagines herself Napoleon.
And the derision of female lives does not stop with these toxic, ugly, insidious slanders because there is always, in every circumstance, the derision in its skeletal form, all bone, the meat stripped clean: she is pussy, cunt. Every other part of the body is cut away, severed, and there is left a thing, not human, and it, which is the funniest joke of all, an unending source of raucous humor to those who have done the cutting. The very butchers who cut up the meat and throw away the useless parts are the comedians. The paring down of a whole person to vagina and womb and then to a dismembered obscenity is their best and favorite joke.
Every woman, no matter what her social, economic, or sexual situation, fights this paring down with every resource at her command. Because her resources are so astonishingly meager and because she has been deprived of the means to organize and expand them, these attempts are simultaneously heroic and pathetic. The whore, in defending the pimp, finds her own worth in the light reflected from his gaudy baubles. The wife, in defending the husband, screams or stammers that her life is not a wasteland of murdered possibilities. The woman, in defending the ideologies of men who rise by climbing over her prone body in military formation, will not publicly mourn the loss of what those men have taken from her: she will not scream out as their heels dig into her flesh because to do so would mean the end of meaning itself; all the ideals that motivated her to deny herself would be indelibly stained with blood that she would have to acknowledge, at last, as her own.
So the woman hangs on, not with the delicacy of a clinging vine, but with a tenacity incredible in its intensity, to the very persons, institutions, and values that demean her, degrade her, glorify her powerlessness, insist upon constraining and paralyzing the most honest expressions of her will and being. She becomes a lackey, serving those who ruthlessly and effectively aggress against her and her kind. This singularly self-hating loyalty to those committed to her own destruction is the very essence of womanhood as men of all ideological persuasions define it.
_____
Marilyn Monroe, shortly before she died, wrote in her notebook on the set of Let’s Make Love: “What am I afraid of? Why am I so afraid? Do I think I can’t act? I know I can act but I am afraid. I am afraid and I should not be and I must not be.”1
The actress is the only female culturally empowered to act. When she acts well, that is, when she convinces the male controllers of images and wealth that she is reducible to current sexual fashion, available to the male on his own terms, she is paid and honored. Her acting must be imitative, not creative; rigidly conforming, not self-generated and self-renewing. The actress is the puppet of flesh, blood, and paint who acts as if she is the female acting. Monroe, the consummate sexual doll, is empowered to act but afraid to act, perhaps because no amount of acting, however inspired, can convince the actor herself that her ideal female life is not a dreadful form of dying. She grinned, she posed, she pretended, she had affairs with famous and powerful men. A friend of hers claimed that she had so many illegal abortions wrongly performed that her reproductive organs were severely injured. She died alone, possibly acting on her own behalf for the first time. Death, one imagines, numbs pain that barbiturates and alcohol cannot touch.
Monroe’s premature death raised one haunting question for the men who were, in their own fantasy, her lovers, for the men who had masturbated over those pictures of exquisite female compliance: was it possible, could it be, that she hadn’t liked It all along—It—the It they had been doing to her, how many millions of times? Had those smiles been masks covering despair or rage? If so, how endangered they had been to be deceived, so fragile and exposed in their masturbatory delight, as if she could leap out from those photos of what was now a corpse and take the revenge they knew she deserved. There arose the male imperative that Monroe must not be a suicide. Norman Mailer, savior of masculine privilege and pride on many fronts, took up the challenge by theorizing that Monroe may have been killed by the FBI, or CIA, or whoever killed the Kennedys, because she had been mistress to one or both. Conspiracy was a cheerful and comforting thought to those who had wanted to slam into her until she expired, female death and female ecstasy being synonymous in the world of male metaphor. But they did not want her dead yet, not really dead, not while the illusion of her open invitation was so absolutely compelling. In fact, her lovers in both flesh and fantasy had fucked her to death, and her apparent suicide stood at once as accusation and answer: no, Marilyn Monroe, the ideal sexual female, had not liked it.
People—as we are always reminded by counterfeit egalitarians—have always died too young, too soon, too isolated, too full of insupportable anguish. But only women die one by one, whether famous or obscure, rich or poor, isolated, choked to death by the lies tangled in their throats. Only women die one by one, attempting until the last minute to embody an ideal imposed upon them by men who want to use them up. Only women die one by one, smiling up to the last minute, smile of the siren, smile of the coy girl, smile of the madwoman. Only women die one by one, polished to perfection or unkempt behind locked doors too desperately ashamed to cry out. Only women die one by one, still believing that if only they had been perfect—per
fect wife, mother, or whore—they would not have come to hate life so much, to find it so strangely difficult and empty, themselves so hopelessly confused and despairing. Women die, mourning not the loss of their own lives, but their own inexcusable inability to achieve perfection as men define it for them. Women desperately try to embody a male-defined feminine ideal because survival depends on it. The ideal, by definition, turns a woman into a function, deprives her of any individuality that is self-serving or self-created, not useful to the male in his scheme of things. This monstrous female quest for male-defined perfection, so intrinsically hostile to freedom and integrity, leads inevitably to bitterness, paralysis, or death, but like the mirage in the desert, the life-giving oasis that is not there, survival is promised in this conformity and nowhere else.
Like the chameleon, the woman must blend into her environment, never calling attention to the qualities that distinguish her, because to do so would be to attract the predator’s deadly attention. She is, in fact, hunted meat—all the male auteurs, scientists, and homespun philosophers on street corners will say so proudly. Attempting to strike a bargain, the woman says: I come to you on your own terms. Her hope is that his murderous attention will focus on a female who conforms less artfully, less willingly. In effect, she ransoms the remains of a life—what is left over after she has renounced willful individuality—by promising indifference to the fate of other women. This sexual, sociological, and spiritual adaptation, which is, in fact, the maiming of all moral capacity, is the primary imperative of survival for women who live under male-supremacist rule.
_____
… I gradually came to see that I would have to stay within the survivor’s own perspective. This will perhaps bother the historian, with his distrust of personal evidence; but radical suffering transcends relativity, and when one survivor’s account of an event or circumstance is repeated in exactly the same way by dozens of other survivors, men and women in different camps, from different nations and cultures, then one comes to trust the validity of such reports and even to question rare departures from the general view.2
Last Days at Hot Slit Page 14
